[NetBehaviour] the simplest system of improvisation

[Alan Sondheim]

the simplest system of improvisation


http://www.alansondheim.org/amherst16.jpg Dickinson house
http://www.alansondheim.org/simple1.mp3
http://www.alansondheim.org/simple2.mp3
http://www.alansondheim.org/simple3.mp3

Henry Gunckel simple systen clarinet, mid-19th century
with Luke Damrosch revrev and convolution programs.

meanwhile the clarinet has a crack that needs to be filled,
an afternoon project sometime after the chemistry arrives.
it's been a difficult day but we went about our ordinary
business.

the clarinet has five unringed holes, everything for slurs,
odd intervals, glissandos; technically it's a 13-key
instrument before the HP/LP designations, high pitch / low
pitch. this is not the standard or full Albert system, but
as its description suggests, simpler, with the forked F
(relative to the standard pitch) fingering that's a real
nuisance. the tone is somewhere among bagpipe, duduk, folk
clarinets in general, and very easy to modify.

all of this will stop after the recording sessions in May.
I know now this is a material for talking to myself about
sound that I hear below the tinnitus and that it is a good
sound and I will make it and retire into a virtual world
with this sound and it will be there with me.


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Re: [NetBehaviour] NetArtizens: Do you dream of computers?

[Ursula Endlicher]

Dear Joumana,

Thanks a lot for your great questions!

In regards to how I contextualize my work to the audience: It actually got
much easier ;-). When i started out "bringing the Web" into physical space
in my earlier performances more than 10 years ago, I felt a bit resistance
from the audience to think about the protocols of the Web as something to
experience physically. Nowadays it's really all we do every day ;-), well
not totally but,  talking or showing what happens online and making the
hidden processes more transparent has become a wide area of interest.

And your second question: My work is seen both online and physically - it
exists in both places and they intersect each other! So, when I do a live
performance i usually have real-time data or code from the Web "drive" or
choreograph the piece. When I work on an online performance, I use
real-time data that brings in a physical reference, so for instance I did
an online piece called "Light and Dark Networks"
(http://lightdarknetworks.ursenal.net) - two online data performances,
which reflected on the morphological parallels in natural networks (such
as mushroom mycelia and spiderwebs) and artificially built networks... The
piece was driven by real-time weather data form NYC and changed how the
piece behaved. So the physical place was constantly brought anew into the
online performance changing how it manifested itself.

I just started looking up your work! Really interesting!

--Ursula


> Dear Ursula
> I have been looking at your work and the concept behind it, it looks
fascinating as you are breaking the boundaries between both bodies the
physical and the web, through the protocole we use everyday. My question
is how do you contextualise it to your audiences, and is your work seen
online as well as physical?
> ;-)
> On 13 Mar 2015, at 00:01, Ursula Endlicher wrote:
>> hi dear helen,
>> i am very interested in using computer-derived "logic" as choreography
in
>> my works. a few years ago i did a series of live performances where
dancers used movements based on the logic of HTML tags, and currently i am
>> working on a new iteration of a live performance series that has
characters featured such as the "Finder" or the "MouseCursor" or
"HelperApplications", each executing their role based somewhat on what its
>> function is in the OS.
>> you can look here:
>> Website Impersonations (HTML movements) http://www.ursenal.net/wi_ttmv/
Far-Flung follows function (OSX characters)
>> http://farflungfollowsfunction.ursenal.net
>> maybe this answers  your question or probably raises more ;-)
>> best,
>> ursula
>>> during the CyPosium, joseph delappe talked about his experience when
he
>>> was performing gandhi in second life intensively every day for i
forget
>>> how long, he said he would walk down the street & think that he could
click on people & have information about them display over their heads as
in SL.
>>> i can't think off the top of my head of an example of dance or
performance that choreographs UI gestures but i bet there are some out there.
>>> h : )
>>> On 12/03/15 7:36 11PM, Rob Myers wrote:
 On 12/03/15 05:38 AM, helen varley jamieson wrote:
> :D or little kids trying to "swipe" the screens on the back of
digital cameras when viewing photos - i've even seen kids trying to
"swipe" the pages of a book, but maybe that's more just lazy
page-turning than really believing it will swipe ...
 The body language of mobile and tablet use is fascinating, the
postures and hand gestures. Faces lost in contemplation illuminated by
 not God or the truth but by commercially mediated sociality. Hands
stroking, pulling, making shadowplay ducks.
 Everyone (if you like ;-) ) try making gesture UI movements with your
hands in the air in front of you and see how they look. Is there any
contemporary dance using this?
> On 12/03/15 10:56 26AM, Antye Greie-Ripatti wrote:
>> me finger-zooming into books lately (eye roll)
>> On Mar 12, 2015, at 11:50 AM, dave miller
>> mailto:dave.miller...@gmail.com>> wrote:
>>> Often when I do something really bad, like lock myself out of the
house, my immediate thought is "undo" and then I realise that
doesn't apply to real life.
 Apparently obsessive Myst players used to try to click on things irl.
- Rob.
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>>> --
>>> helen varley jamieson
>>> he...@creative-catalyst.com 
http://www.creative-catalyst.com
>>> http://www.talesfromthetowpath.net
>>> http://www.upstage.org.nz
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>> http://www.netbeh

[NetBehaviour] Tele-Improvisation

[Roger Mills]

Peter you may find some things of interest in my thesis, which specifically 
addresses issues of perception in intercultural tele-improvisation.

http://eartrumpet.org/research/thesis.pdf 


It seems to me that improvisation is a natural medium for networked performance 
as it’s dialogical nature affirms the extension of presence between dispersed 
real-world spaces and and the perception of that extended presence through the 
network. 

It can keep our feet firmly on the ground when thinking about tele-presence and 
networked interaction !

As an improvising musician myself, I have also come to view it as much as a 
philosophy for living as much as a framework for practice.

You may already be aware but George E Lewis has written some interesting 
articles on this, particularly around improvisation as ontology and his 
computer based improvisation system Voyager.

Roger

—
Roger Mills

http://www.eartrumpet.org
http://roger.netpraxis.net
http://telesound.net

"Knowledge is only rumour until it is in the muscle" - Asaro Mudmen, Papua New 
Guinea.

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Re: [NetBehaviour] improvisation with self over time

[Gutenko, Gregory]

Smile is good.

 /\ 
<  DV  >  Gregory Gutenko  
 \/



> On Mar 27, 2015, at 4:30 PM, James Morris  wrote:
> 
>> On 27/03/15 18:08, Gutenko, Gregory wrote:
>> One of those "improvisations with self over time" videos.
>> 
>> https://vimeo.com/24363787
>> 
>> Gregory Gutenko
> 
> Well, it made me smile.
> 
> 
> 
> 
> 
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Re: [NetBehaviour] improvisation with self over time

[James Morris]

On 27/03/15 18:08, Gutenko, Gregory wrote:

One of those "improvisations with self over time" videos.

https://vimeo.com/24363787

Gregory Gutenko


Well, it made me smile.





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Re: [NetBehaviour] improvisation with self over time

[Paul Hertz]

Looking through my notebooks from two summers ago, to a lecture by Robert
Irving III (here, FWIW: https://en.wikipedia.org/wiki/Robert_Irving_III).
He suggested improvisation is the basis for a unified theory of the arts,
arts created and informed by improvisation. Language is a codified
improvisation. Improvisation is also a way of health (chaos is healthy) and
a way of knowledge or a way to get outside of knowledge.

When these points of view also arise from a cultural tradition,
improvisation takes on political meaning (my thoughts).

-- Paul


On Fri, Mar 27, 2015 at 1:57 PM, Alan Sondheim  wrote:

>
>
> The music/soundwork I do is all improvisaqitonal, as has been the work we
> did with Foofwa d'Imobilite a few years ago - we worked together for close
> to 18 years. There were always sites and negotiations. The video as well is
> improvisation, as are the texts that accompany them in-world. Theory is
> another thing, but it's also a continuous meditation on phenomenology, the
> digital, the body, etc. It flows that way. When I give a public talk, it's
> the same - I'll have a rough outline and improvise from that. Soome of this
> stems from jazz; certainly free jazz is real-time and a complex negotiation
> between musicians, instruments, technologies, etc.; Schutz wrote an essay
> on making music together and Valerie Wilmer among others captured the
> spirit of it all. When I put up a piece of music or sound- work, I usually
> accompany it with an 'explanation' of a kind of basis, for example rev rev
> in terms of sonic architectures and anticipatory music, which are in flux.
> The work I did for the Interrupt festival was also improvised within and
> among virtual worlds; I'm still working through the documentation, and even
> the Cave performances were improvised, although Kathleen Ottinger's pieces
> weren't. So much of this, for me, stems from altered mocap sessions, which
> again were real-time negotiations with the limits of the software. All of
> this makes it difficult, at times, for others to work with me, since
> there's only a certain 'sense' of what will happen, and that can be hard
> for people used to operating within or among certain forms, which might be
> pre-established or even compositions. I do want again to apologize for not
> participating more in the discussion or the upcoming event; March has been
> particularly bad, with too many things coming due.
>
> Thanks for reading, the discussion is really stimulating!, Alan
>
> ==
> email archive http://sondheim.rupamsunyata.org/
> web http://www.alansondheim.org / cell 718-813-3285
> music: http://www.espdisk.com/alansondheim/
> current text http://www.alansondheim.org/tc.txt
> ==
>
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-- 
-   |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)|   ---
http://paulhertz.net/
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Re: [NetBehaviour] improvisation with self over time

[Bjørn Magnhildøen]

just on a note, "that 'improvisation' is an impossible word, like 'self' or
'time' --- what i meant is that we're already prepared and always
improvising, - otherwise we wouldn't be alive, - as we're also prepared
biologically to die, and then improvising over this. if everything is
floating then we wouldn't know it. heraclit said it's impossible to step
twice into the same water, while his successors said it was impossible even
once, since what is, is not again. in this sense, 'self', 'time', and
'improvisation', are impossible constructs. but since we're so used to
constructs, 'impossible' constructs can deconstruct those relative and
familiar ones -- sort of a 'reflection in the water which is not again' --
would you see a mirror in that water? is there a face there?

best regards,
bjørn
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Re: [NetBehaviour] improvisation with self over time

[Alan Sondheim]

The music/soundwork I do is all improvisaqitonal, as has been the work we 
did with Foofwa d'Imobilite a few years ago - we worked together for close 
to 18 years. There were always sites and negotiations. The video as well 
is improvisation, as are the texts that accompany them in-world. Theory is 
another thing, but it's also a continuous meditation on phenomenology, the 
digital, the body, etc. It flows that way. When I give a public talk, it's 
the same - I'll have a rough outline and improvise from that. Soome of 
this stems from jazz; certainly free jazz is real-time and a complex 
negotiation between musicians, instruments, technologies, etc.; Schutz 
wrote an essay on making music together and Valerie Wilmer among others 
captured the spirit of it all. When I put up a piece of music or sound- 
work, I usually accompany it with an 'explanation' of a kind of basis, for 
example rev rev in terms of sonic architectures and anticipatory music, 
which are in flux. The work I did for the Interrupt festival was also 
improvised within and among virtual worlds; I'm still working through the 
documentation, and even the Cave performances were improvised, although 
Kathleen Ottinger's pieces weren't. So much of this, for me, stems from 
altered mocap sessions, which again were real-time negotiations with the 
limits of the software. All of this makes it difficult, at times, for 
others to work with me, since there's only a certain 'sense' of what will 
happen, and that can be hard for people used to operating within or among 
certain forms, which might be pre-established or even compositions. I do 
want again to apologize for not participating more in the discussion or 
the upcoming event; March has been particularly bad, with too many things 
coming due.


Thanks for reading, the discussion is really stimulating!, Alan

==
email archive http://sondheim.rupamsunyata.org/
web http://www.alansondheim.org / cell 718-813-3285
music: http://www.espdisk.com/alansondheim/
current text http://www.alansondheim.org/tc.txt
==
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Re: [NetBehaviour] improvisation with self over time

[Bjørn Magnhildøen]

"improvisation" "self" "time", three impossible words.

-

young man is antsy
old man says young man thinks too much

young man is old man
old man is young man

dog says nothing

-

breads are baked in ten minutes

On Fri, Mar 27, 2015 at 7:08 PM, Gutenko, Gregory  wrote:

> One of those "improvisations with self over time" videos.
>
> https://vimeo.com/24363787
>
> Gregory Gutenko
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[NetBehaviour] improvisation with self over time

[Gutenko, Gregory]

One of those "improvisations with self over time" videos.

https://vimeo.com/24363787

Gregory Gutenko
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Re: [NetBehaviour] Improvisation

[Michael Szpakowski]

In the spirit of Netartizens & also as a response to the question of 
improvisation, I improvised along on the piano in 2015 in a virtual duet with 
Eddie James "Son" House as he performed Camp Hollers in 1941 with Willie Brown, 
Fiddlin'Joe Martin and Leroy Williams who are the "responders" on the track.
I took the best of two of my performances and spliced them together. I don't 
know how I feel. I love Son House's music and it gave me pleasure to become an 
active part of it but I'm not sure whether and how it works.It's 
here:https://www.flickr.com/photos/szpako/16759444128/
cheersmichael  
  From: Peter Gomes 
 To: netbehaviour@netbehaviour.org 
 Sent: Thursday, March 26, 2015 12:43 PM
 Subject: [NetBehaviour] Improvisation
   
I'm currently immersed in Improvisation across its many forms and processes; 
music, performance, cinema, acting, making, living.
I'm interested to hear peoples thoughts on potential connections between 
improvisation and networks and contemporary ideas in and around technology. 

“Only he who is well prepared has any opportunity to improvise.” ― Ingmar 
Bergman

Pete


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[NetBehaviour] call for work

[Michael Szpakowski]

HI 
I got passed this call for work. I know the two people leading it and they are 
imaginative, nice & efficient...Please feel free to pass it on 
elsewhere:Vespertine - See York Through NewEyes Vespertine is a series of 
events,happenings and performances hosted in some of York’s most intriguing 
andbeautiful spaces and places of heritage. Each of the 18 events will take 
placeduring twilight hours (eg. 5-8pm) and will be free to attend.  Vesper is a 
latin term meaningevening. Vespertine relates to; botany - opening or blooming 
in the evening;zoology - active in the evening; and astronomy - appearing or 
setting in theevening.
Vespertine are seeking artist film as well as live art pieces that respond 
insome way to the overall theme of the events ie.. •    the time of daywhen the 
events take place 5-8pm,
•    feature vespertine animals, plants or stars, 
•    or reference the space between work and play  ARTIST FILM Vespertine are 
hosting a screeningat the launch event, that is due to take place between 
5-8pm, Tuesday 12th May2015 at City Screen (York). Musicians will respond to 
the showreel so the filmswill be screened without sound. International works of 
any year or length arewelcomed though due to limited screening time short films 
will be favoured.  Deadline for submission for the launch event: Friday 
24thApril 2015
Successful candidates informed by: Thursday 30th April 2015
Please email: vespertiney...@gmail.com with the following information

Contact name:
Contact telephone number:
Contact email:
Online link to your video:
Dropbox link to high resolution .mv4 or .mov file:
Duration of piece:
Short Description of the work and how it connects with Vespertine (max 50words):
Short artist bio (50 words):
Yvonne Carmichael & Lucy Barker
Creative Producers
VESPERTINE
www.vespertineyork.com
@vespertineyork
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Re: [NetBehaviour] On 0p3nr3p0.net -- Cable Vision Generations

[Daniel Pinheiro]

Thank you all who have been contributing for this really rich and amazing
thread of emails, many of which so enlightening regarding the intersection
between human and technology.

I'm also looking forward to hear and follow the symposium online next week.

In terms of this all networked pratice I would like to share some of the
works that I've been working over the past few years that somehow try to
address its potential but also reflect on the need to highlight the human
factor behind it.

MEDIATED REFLECTIONS  (2014)

*The digital self, or the possibility of several/multiple selves that exist
on a digital sphere. Inspired by Bill Viola’s ‘The Reflecting Pool’, this
work explores our own perception in this digital era of connectedness by
the reflection of our own agency in the world. Directly captured on the
computer desktop and edited after ‘Mediated Reflections’ is about our
continuous process of mediation within and outside of the network*.

LAND PROJECT  (2013...)

*The project focuses on exploring notions of time, space, performance and
the body within the context of online communication. We investigate ideas
surrounding physical versus virtual space and how the digital disembodiment
can be translated into artifacts that behold an overall idea of
participatory distance. The intersection of time and space is such that
space seems irrelevant of time during the experience of online encounters,
leading us to question, how the perception of the “other” changes, and to
further exploit the experience through alternative uses of
telecommunication technologies for creating a clearer sense of proximity—
How can communication be altered for sensing one another? As a result of
our series of encounters thus far, we have developed a practice that
involves a real-time interface that uses a multiple online screen spaces
where bodies connected through the internet can use a script as a direct
feed for actions and interactions that include text, sound and objects. Our
aim is to continue the research and propose a study to experiment with
alternative uses with real time telecommunication platforms to develop
online methods for creating body-based performative work. Specifically,
looking at how to explore the idea of live transformation where by editing
visual and audio content in real-time so that to make it visible to others
through mediated spaces, and thus becoming part of the performance.*

On another note:

https://www.academia.edu/10029183/Electronic_Communion






*Quantifiable Vs. Qualifiable.Internet has over quantified the self,
transforming existence into data, increasing the multiplicity of
individualities contained in each recipient of human-living-device that
continuously connects and disconnects of the collective without realizing
or perceiving the difference. While craving for a more direct integration
and participation of the user it's not a matter of quantifying the self by
the amount of data produced on the cloud, feeding the medium, but about in
which quality it stands in the middle of the action. It is in that quality
that the participation relies on the, already established, format that
social media, and communication devices have shaped the process of relation
between humans.To place the user at the center, instead of the peripheries
of any performative event, is to develop an emergent venue, an emergent
space for creation where artists define the situation / experiment, giving
permission to the user to access it at different levels of mediation where
the flow of energy and humanity overflow the medium itself and spread,
triggering multiple senses in every participant. Every presence is, in its
essence, mediated. Telematic performative events qualify the participants
as agents in a new space for creation, where creation and development take
place through the use, and for, the medium itself, combining electric and
human energy into an extended audio, visual and sometimes motion based
experiences monitored by pre-defined parameters of action established by
the artist(s) and where the process is in fact the performance where the
product is completed in the end. The output or product, the agency we can
have upon it, is defined by the medium itself and. The only decision left
ranges from fiction to nonfiction. Like in a site-specific production of
theater, dance or performance work, the site-specific here is the medium
and everyone can be invited to take part, and all are qualified as
fundamental pieces along with the timeless and extended medium/site; that
is contiguous across combined architectures and multiple 1's. Where 0
(zero) stands for inactive / offline / null.Qualifying every participant
(technological, present in location, remote or extended) as a fundamental
piece in the experiencing the extended space, beyond any physical or time
barrier.*


Lastly, the work of two organisations discussing and promoting the
experience in

Re: [NetBehaviour] Improvisation

[helen varley jamieson]

improvisation is an important part of my work for many reasons, but in
particular when creating live performance via internet technology there
is always the possibility of failure, glitch, lag & other technical
"improvisations" that can require an improvised response; and secondly
with an interactive audience who are able to participate, comment and
insert themselves into the work it's also very important to be able to
improvise in response to this. improvisation emphasises the liveness of
the work and the conversational nature of cyberformance. & it's fun :)

h : )

On 27/03/15 12:43 35PM, if wrote:
> Yes.. Interesting.. Improvisation, in terms of meanings, has a range of
> time - as in
> an act in a given present for which a person hasn't rehearsed/prepared.
> A sort of an hack with a focus on time rather than object or objective.
>
> What's the context for this immersion in improvisation? (..or is it an
> improvised immersion..?)
>
> cheers!
>
> aharon
> xx
>
>> Improvisation offers a wealth of cultural connections. Part of my own
>> practice is rooted in jazz. Jazz is a contested territory, with deep
>> roots. I don't find that the same can be said of formal systems, which are
>> the other side of my practice. That's probably why I try to muddy them up
>> with symbolic meanings—perhaps also to spite my academic education, that
>>  insisted on the purity of formal systems and saw symbolic meaning as a
>> sort of vestigial "literary" appendage.
>>
>> Of course, historically, formal systems such as Western music theory are
>> charged with all sorts of cultural freight. Their emptying out of
>> nationalist fervor and programmatic detail seems to have been a Modernist
>>  project. The pure forms were supposed to offer a universality.
>> Post-colonial and post-structuralist critiques suggest that notion was
>> seriously flawed. We still seem to be recovering from that error.
>>
>> -- Paul
>>
>>
>>
>> On Thu, Mar 26, 2015 at 8:17 AM, Joumana Mourad <
>> joum...@ijaddancecompany.com> wrote:
>>
>>> Hi Pete
>>> I find myself working on and exploring similar questions? Looking at
>>> telematics as well in todays presence. Can you contextualise your
>>> thoughts? Hppy to talk, to explore,
>>> On another note
>>> tomorrow I am joining Marlon Barrios who is working at the Moment in
>>> Poland to explore across platform creation...
>>> ;-)
>>> On 26 Mar 2015, at 12:43, Peter Gomes wrote:
>>>
>>>
 I'm currently immersed in Improvisation across its many forms and

>>> processes; music, performance, cinema, acting, making, living.
 I'm interested to hear peoples thoughts on potential connections
 between
>>> improvisation and networks and contemporary ideas in and around
>>> technology.
 “Only he who is well prepared has any opportunity to improvise.�
 ―
>>> Ingmar Bergman
>>>
 Pete


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>>
>>
>>
>
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-- 
helen varley jamieson
he...@creative-catalyst.com 
http://www.creative-catalyst.com
http://www.talesfromthetowpath.net
http://www.upstage.org.nz
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Re: [NetBehaviour] Archives and Energies / Savage Shapeshifting

[Alan Sondheim]

There's a difference between secrets and bodies, and people aren't 
becoming disembodied at all; I think that's a troubling political position 
- one might argue that people are having their bodies stolen from them 
(organ mining in China for example, or prisons in the U.S.) and 
transformed - but as Carolee Schneeman or Michael McClure would have 
pointed out - it's the meat of the body, it's bushmeat as well of other 
species and bodies - that's being destroyed. There's a difference between 
our secrets - which, to the extent they exist in an arhivable/digital 
form, no longer belong to us - and our situation within our own minds - 
it's your personality, for example, your poetics (which are brilliant) 
that comes through to me, even here in the midst of lower ASCII, all that 
interconnectivity. I've often felt that if a machine writes a brilliant 
poem, I wouldn't be interested in it - or interested in it only under the 
aegis of New Crtiticism (I.A. Richards etc. back in the 40s), which 
separates the text from the body, from the habitus. For me a poem is 
intimately tied, inherently tied, to the writer in the way that song or 
music is. Well, this is off the point, but there's increasingly Queer 
politics in new media (judging by Interrupt), as well as a radical 
politics of race, etc. etc. - and for me this flies in the face of 
technophilia, the absent body - at Interrupt, the body was insisted upon, 
over and over again; if anything, it was the contested body in the midst 
of all those screens/projections. Downtown here in Providence we see the 
fallout as well, with so many disenfranchised people on the streets.


It's this phrase - "desire machines, driven by autonomous

social viruses like capitalism, wont drive humans, particularly those
in crisis, to do 'what must be done'." - that worries me; capitalism is 
not an "autonomous social virus" - look at mining in West Virginia and the 
decisions made by people, by bodies, crippling the state, and the people 
who are being driven are by and large the poor who produce machines in the 
first places. But this is a contestation among people and bodies, as ISIS 
and Yemen and Boko Haram and Ferguson and so many other places, show... So 
the question for me isn't about "desiring machine" (so many phrases of D/G 
are just _cool_), but whose desire? And by that I don't mean tchnology, 
techne, capital, etc. - I'd mean (for myself, I mean, I'd mean), Who?


Thanks, Alan

On Thu, 26 Mar 2015, BishopZ wrote:


You all bring up some great points. It has taken some time for me to
think thru them. I really appreciate everyones responses, and I really
like the perpendicular dimensions suggested by "savage shapeshifting"
- the biological and virtual, performance and archive, mutilation and
desecration.

There is no research that shows that a mind would be such, without a
body. Consciousness is highly defined by personality which depends on
identity derived from our bodies: their movement, adornments,
eccentricities.

While I agree that to 'fire and forget' the body would be an

e desire machines, driven by autonomous

social viruses like capitalism, wont drive humans, particularly those
in crisis, to do 'what must be done'.> 
extravagant move, discursive to 
civil rights, a 'spit in the eye' to

anyone with heliocentric or anthropomorphic sensibilities - Yet I do
find it hard to believe that the desire machines, driven by autonomous
social viruses like capitalism, wont drive humans, particularly those
in crisis, to do 'what must be done'.

I've come to find metaphors of people becoming asleep or as sheep, to
be 'out of date' - rather people are becoming more like disembodied
oxen - our physical world littered with 'drone bodies' the bodies left
behind by the pilots of drones.

To phrase it in another dimension, our ability to record our
experiences, with or without our permission or intention, continues to
out-paced our ability to search, isolate, curate, or understand the
'big data' we hold in our 'hands'. The internet archive and the
eventual 'internet of things archive' are both far deeper than even
quantum computers could reach. Not only will our secrets be buried
there, so too all the secrets of all the recorded generations.

Any thoughts appreciated,
Bz



On Tue, Mar 24, 2015 at 3:02 PM, Alan Sondheim  wrote:



We're having a lot of discussion here; we have to archive/document our
performance/s at Interrupt in and out of the Cave, and I find that close to
an impossibility; I turned over all the materials I shot, which are about 8
gigabytes, and they, the director, want it narrowed down, understandably,
but I'm not sure how to narrow down a residency which was in the form of a
continuous opera in real and virtual spaces. I must comply or nothing, I'll
pick out a random video clip, random soundpiece, random image or two and try
to tie things together.

As far as the body is concerned, I keep going back precistely to Rwanda (a
teacher/playwright at Brown h

[NetBehaviour] Body Anxiety: Woman As Bearer Of The Look | Leah Schrager and Jennifer Chan

[furtherfield]

Body Anxiety: Woman As Bearer Of The Look | Leah Schrager and Jennifer Chan

Review by Laura González

In a psychoanalytic review of the online exhibition Body Anxiety, curated
by Leah Schrager and Jennifer Chan, Laura González explores fear, symptom,
sublimation and the pleasure of looking in relation to the body of the
artists shown.

"Fear is easily attributable to a cause—we fear something in particular.
Anxiety, however, can be described as fear without the source. Yet, anxiety
is also a safety mechanism. Without it, we would walk in the face of
danger. In the online exhibition Body Anxiety, curated by Leah Schrager and
Jennifer Chan, the disquiet is experienced in the flesh, whether this is as
a symptom or sublimation."

http://www.furtherfield.org/features/reviews/body-anxiety-woman-bearer-look
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[NetBehaviour] archive of work

[Michael Szpakowski]

I’m assembling a list of links , in the form ofedited versions of my original 
posts to work I’ve made & posted to Netbehaviourduring the “NetArtizens” 
project. I will post this back to the list and then acopy of that post will 
form my submission to the online exhibition. I want to emphasisethe, for me, 
necessary connectionbetween the list, my relationships (or otherwise) with 
those on it & themaking of this work. I *didn’t* make it for an exhibition; I 
made it as a contributionto dialogue, to exchange and to play. I also want to 
underline my use of theYahoo owned Flickr as a space to place work – whatever 
demerits it has it hasprovided me with a second very congenial and lively 
community of co-makers andthinkers ( and I particularly love there the shading 
across participants fromfull time artists to those who would not in a million 
years describe themselvesas artists and yet make the most stimulating and often 
stunning work.)  


Back to NetArtizens : It’s been fun; I’ve learnedfrom it & I’ve made a couple 
of new friends. What more could you ask?

NetArtizens -Ruth Catlow
here:https://www.flickr.com/photos/szpako/16518435447/ oil on canvas //12X9" 
//paintedfrom google search // posted to Flickr   cheersmichael resending the 
ones that failed toshow up before ( at least in my inbox; sorry if this entails 
micro-spamming) mezbreeze 
here:https://www.flickr.com/photos/szpako/16740935025/in/photostream/ sizeten 
rant: dr hairy https://www.flickr.com/photos/szpako/1672755/ 
TNT size tear - IsabelBrison

https://www.flickr.com/photos/szpako/16740933195/

net art is zen: Randall Packer

https://www.flickr.com/photos/szpako/16539604289/in/photostream/


sneezr taint: patricklichty
here:
https://www.flickr.com/photos/szpako/16520166227/

oil on canvas //12X9" //painted from google search // posted to Flickr

series so far:
https://www.flickr.com/photos/szpako/sets/72157651122579216
cheers
Michael 
n-net art sez i : alansondheim
https://www.flickr.com/photos/szpako/16546769878/


Tizer! Santé, N! - SimonMclennan
https://www.flickr.com/photos/szpako/16720045356/ 
tisn't Azreen! - katho'donnell
https://www.flickr.com/photos/szpako/16750770022/  
retina n/zest: Rob Myers
https://www.flickr.com/photos/szpako/16565741409/in/photostream/ 
Zen tante Sir! : KarlHeinz Jeron
https://www.flickr.com/photos/szpako/16756938875/ 
nein! ersatz T! : helenpritchard
https://www.flickr.com/photos/szpako/16570811449/ 
neat NZ rites : helenvarley jamieson
https://www.flickr.com/photos/szpako/16755763411/ 
GRR/BAM/LOOP
Catlow through MacMoragh remix'd: http://www.michaelszpakowski.org/GRR/BAM/LOOP 
might take a few seconds to getgoing depending on your connection and ( I 
think) what else your machine is upto cheers michael 
tarzen 'e isn't :johannes birringer
https://www.flickr.com/photos/szpako/16146731324/ 'tiza stern RN: antye 
greie-ripatti https://www.flickr.com/photos/szpako/16146727304/
 

calling cards at thenetartizens ball
  Using David Gasi's splendid"reductions" of my netartizens portraits and with 
a generative soundpiece on the side.The sound takes a little while toget going 
properly ( and you might have to ensure your browser both has andallows the 
shockwave plug-in)The music uses a  database ofloops culled from a wax cylinder 
recording from 1909 of Ole Bull's"Solitude of the Shepherdess" performed by the 
American StringQuartet http://www.michaelszpakowski.org/ccatnb/ cheersMichael 
tenretsinaz: it's a movement from... 
https://www.flickr.com/photos/szpako/16769042856/

sound piece remix/mash up of a spoken text from Aharon:

soundcloud.com/if-a23/11-3-a-bit-of-summery  and a track by David Gasi: 
soundcloud.com/davidmg/05-conditioned-response// a contribution to netartizens 
// cheers michael  
no-one has the call (responseto Edward Picot & Kath O’Donnell)
http://www.michaelszpakowski.org/no-one_has_the_call/ 
cheeersm.
forced musicalparticipation of alan sondheim
 I took a beautiful low clarinet improvisationby Alan and improvised a
 duet/accompaniment to it live, recordingthe performance.
 I then overdubbed his original ( just tomake sure it was clear enough) .
 For me it feels like it works...I'm notsure
 It felt great to do :)
 http://www.michaelszpakowski.org/netartizens/chalumeau_duet.mp3
 michael neo-cicciolinasomersault loop after patrick lichty 
http://www.michaelszpakowski.org/after_patrick_lichty/ cheers  michael   
temporary site specific art work  
https://www.flickr.com/photos/szpako/16883436836/  cheersm. gifcinema // 
NetArtizens Thissort of fits into the NetArtizens thing, I think - it a 
piecewhich works with material from the 1950s and from my younger self in 
thenineties, as well as giving a respectful nod to one of the most 
thoughtfulearly net artists, Eryk Salvaggio..
( click on the poster image to start)



http://www.somedancersandmusicians.com/GIFcinema/GIFcinema.cgi/2015/03/27#post14
  cheers michael 

[NetBehaviour] gif cinema // NetArtizens

[Michael Szpakowski]

This sort of fits into the NetArtizens thing, I think - it a piece which works 
with material from the 1950s and from my younger self in the nineties, as well 
as giving a respectful nod to one of the most thoughtful early net artists, 
Eryk Salvaggio..
( click on the poster image to start)


http://www.somedancersandmusicians.com/GIFcinema/GIFcinema.cgi/2015/03/27#post14
cheers
michael
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Re: [NetBehaviour] Improvisation

[if]

Yes.. Interesting.. Improvisation, in terms of meanings, has a range of
time - as in
an act in a given present for which a person hasn't rehearsed/prepared.
A sort of an hack with a focus on time rather than object or objective.

What's the context for this immersion in improvisation? (..or is it an
improvised immersion..?)

cheers!

aharon
xx

> Improvisation offers a wealth of cultural connections. Part of my own
> practice is rooted in jazz. Jazz is a contested territory, with deep
> roots. I don't find that the same can be said of formal systems, which are
> the other side of my practice. That's probably why I try to muddy them up
> with symbolic meanings—perhaps also to spite my academic education, that
>  insisted on the purity of formal systems and saw symbolic meaning as a
> sort of vestigial "literary" appendage.
>
> Of course, historically, formal systems such as Western music theory are
> charged with all sorts of cultural freight. Their emptying out of
> nationalist fervor and programmatic detail seems to have been a Modernist
>  project. The pure forms were supposed to offer a universality.
> Post-colonial and post-structuralist critiques suggest that notion was
> seriously flawed. We still seem to be recovering from that error.
>
> -- Paul
>
>
>
> On Thu, Mar 26, 2015 at 8:17 AM, Joumana Mourad <
> joum...@ijaddancecompany.com> wrote:
>
>> Hi Pete
>> I find myself working on and exploring similar questions? Looking at
>> telematics as well in todays presence. Can you contextualise your
>> thoughts? Hppy to talk, to explore,
>> On another note
>> tomorrow I am joining Marlon Barrios who is working at the Moment in
>> Poland to explore across platform creation...
>> ;-)
>> On 26 Mar 2015, at 12:43, Peter Gomes wrote:
>>
>>
>>> I'm currently immersed in Improvisation across its many forms and
>>>
>> processes; music, performance, cinema, acting, making, living.
>>> I'm interested to hear peoples thoughts on potential connections
>>> between
>> improvisation and networks and contemporary ideas in and around
>> technology.
>>>
>>> “Only he who is well prepared has any opportunity to improvise.”
>>> ―
>> Ingmar Bergman
>>
>>>
>>> Pete
>>>
>>>
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>>>
>>
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>>
>
>
>
>


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